815 


m 


Price  35  Cents 


'ubHshed    by  EDGAR    S.  WERNER  &  CO.,  New  York 


Werner's  Selections 

wuh  Elocution  Lessons  No*  1 

.  •  BRINGS  TO  YOUR  HOME  .  . 

EMMA   DUNNING  BANKS,  Actress,  Public  Reader,  Teacher,  Author  of  14  Banks's 

Recitations  with  Lesson-Talks." 
BERTHA  L.  COLRURN,  Teacher,  Author  of  44  Graded  Physical  Exercises." 
ANNA  D.  COOPER,  Teacher,  Public  Reader,  Director  of   Poses  in  the  Pantomimes, 

44  Star-Spangled  Banner,"  a^d  44  The  Listening  Ear  of  Night." 
ANNA   RANDALL-DIEHL,  Teacher,  Public   Reader,  Author  of  44  Elocutionary 

Studies,"  etc. 

GRACE    B.    FAXON,  Teacher,  Public  Reader,  Formerly  an   Editor  of  "Werner's 
Magazine." 

HENRY  GAINES  HAWN,  Teacher,  Author,  President  of  the  National  Association  of 
Elocutionists. 

ERNEST  LEGOUVE,  of  the  French  Academy,  Eminent  Playwright  and  Dramatic 
Teacher. 

J.  M.  D.  MEIKLEJOHN,  Eminent  English  Elocutionist. 
SAIDEE  V.  MILNE,  Teacher,  Public  Reader,  Author. 

AMELIA  RING  MORGENROTH,  Teacher,  Director  of  Entertainments  at  Educational 
Alliance. 

E.  V.  SHERIDAN,  Actress,  Teacher  of  Dramatic  Art,  Author,  Playwright. 
HERMANN  VEZIN,  the  Eminent  London  Teacher  of  Elocution. 

ELISE  WEST,  Teacher,  Public  Reader,  Formerly  an  Editor  of  44  Werner's  Magazine." 
CORA    W.   WHEELER,    Teacher,   Author,    Formerly   First  Vice-President    of  the 
National  Association  of  Elocutionists. 

THESE  CONTRIBUTORS   REPRESENT  ALL  THE  LEADING 
CONTEMPORANEOUS  SCHOOLS  OR.  SYSTEMS  OF 
ELOCUTION  AND  PHYSICAL  CULTURE 

Following  is  a  list  of  selections,  which  are  exhaustively  analyzed,  and  on 
which  elaborate  lesson-talks  are  given,  by  the  above-named  eminent  teachers: 


American  Flag. — J.  R.  Drake. 
Bishop  and  the  Caterpillar.— M.  E.  Manners. 
Brier-Rose.— H.  H.  Boyesen. 
Captor  Captive  (from  '*  Ingomar  "). 
Como,  —  J.  Miller. 
Cupe's  Courtship. —  J.  U-  Lloyd. 
Dog's  Funeral.— S  V.  Milne. 
Higher  Culture  in  Dixie.— D.  Dix. 
How  He  Saved  St.  Michael's.— M.  A.  P. 
Stansbury. 

How  to   Prepare  a    Selection   for  Public 

Rendering. — C.  M.  Wheeler. 
Jaffar.— L.  Hunt. 

Julius  Caesar,  Act  I.,  Scene  I.— W.  Shake- 
speare. 

King  Richard's  Dream.— W.  Shakespeare. 
Kitty  Clive.— F.  F.  Moore. 
Legend  of  the  Organ-Buiider.    7.  C.  R.  Dorr. 
Light  on  Deadman's  Bar.—  E.  E.  Rexford. 
Little  Christel.  — M.  F.  Bradley. 


Little  Hugo. 

Order  for  a  Picture.— A.  Cary. 

Organist.— A.  Lampman. 

Parthenia,  a  Hostage  (from  "Ingomar"). 

Peggy's  Serpulae.— L.  C.  Austin. 

Pied  Piper  M  Hamelin. — R.  Browning. 

Rejected  Suitor  (from  "Ingomar"). 

Rivals.— B.  Chandler. 

Savage  Conquered  (from  "Ingomar"), 

Shaker  Romance.  — C.  S.  Haight. 

Sheltered.— S.  O.  Jewett. 

Sioux  Chief's  Daughter. — J.  Miller. 

Soul  of  the  Violin.— M.  M.  Merrill. 

Study  of  Fables. — E.  Legouve. 

Tom's  Little  Star.— F.  Foster. 

Two  Souls  with  but  a  Single  Thought  (from 

"  Ingomar  "). 
White  Lily.— M.  L.  Wright. 
Wooing  Scene  from  "King  Henry  V."— W. 

Shakespeare. 


35  SPLENDID  LESSONS  IN  ELOCUTION  FOR.  $1.25 

Book  sent  postpaid  on  receipt  of  price 

Address  the  Publishers 

EDGAR  S.  WERNER  6.  CO..  NEW  YORK 


PRICE,  35  CENTS. 


SWEEPERS'  GROWL 


Drill  for  Bight  Girls,  or  Bight  Boys;  or  for  Sixteen 
Boys  and  Girls. 


BY  STANLEY  SCHEL.L. 


Copyright,  1909,  by  Edgar  S.  Werner. 


Costumes:  White  dresses,  white  aprons,  white  sweeping-caps, 
white  dust-cloths,  and  small  feather-dusters  tucked  in  apron 
belts.  Carry  small  sweeping-brooms  decorated  with  stream- 
ers of  white  ribbons.  If  boys  take  part,  they  dress  as 
porters,  sing,  "Oh,  What  Fun,  Boys/'  and  speak  lines  as 
given  on  page  7. 

Music:  "Sweep,  Sweep/'  "We  Have  So  Much  Work  to  Do," 
and  "Oh,  What  Fun,  Girls/' 


DRILL 

1.  Music:  "Sweep,  Sweep."  Girls  enter  in  fours  at  stage 
back  and  move  up  stage  toward  front,  as  follows :  Sweep  R. 
oblique  during  three  beats,  at  same  time  step  forward  R.  oblique, 
then  bring  L.  foot  up  to  R.  foot.  Continue  these  movements 
during  48  beats  or  16  measures  of  music. 

2.  Stage  front.  *  Girls  swing  brooms  up  and  forward  oblique 
into  position  for  sweeping  ceiling.  Movements :  Sweep  back 
during  three  beats,  then  forward  during  three  beats,  and  so  on, 


/ 


2 


SWEEPERS'  GROWL. 


alternating  24  beats  or  8  measures,  meantime  stepping  backward 
to  stage  C. 

3.  Stage  center.  Girls  lower  brooms  to  floor  and  move  up 
stage  toward  front  as  in  I,  but  this  time  they  sweep  L.  oblique 
and  step  forward  with  L.  foot,  then  bring  R.  foot  up  to  L.  foot. 
Continue  these  movements  during  24  beats  or  8  measures  of  music. 

4.  Stage  front.  Look  at  audience  and  smile  wearily.  Place 
brooms  in  front  of  body  and  vertical;  rest  both  hands  on  top  of 
broom-handle. 

5.  Sing,  "We  Have  So  Much  Work  To  Do." 

WE  HAVE  SO  MUCH  WORK  TO  DO. 


Ob    dear   me !  "We  have   so  much  work  to      do,        Oh     dear  me! 


DIRECTIONS  FOR  SINGING  "WE  HAVE  SO  MUCH  WORK/'  ETC. 

"We  have  so  much  work  to  do/9 
[Whiningly.] 
"Oh— dear  me!" 

[Long  drawn  out  and  snappish.'] 
"We  have  so  much  work  to  do/9 

[Shake  head  sideways  and  look  weary.] 

"Oh— dear  me  99 

[As  if  very  tired.] 
"We  have  so  much  work  to  do/9 

[So  tired  and  disgusted.] 

"Oh— dear  me  99 

[Uplifted  brows  and  little  nods  of  head.] 
[Stop  singing  suddenly  as  if  catching  breath,  then  speak  abruptly.] 
"But— now  !— we'll  rest  \" 

[Lean  well  over  broom-handles.'] 


SWEEPERS'  GROWL. 


3 


6.  Music,  "Sweep,  Sweep/'  [Girls  straighten  up  and  look 
animated,  then  sing,  "Sweep,  Sweep/'] 


SWEEP,  SWEEP. 


is-             >.        .  > 

For         its  s1 

'—-.m-a,  

« 

t^eep,      sweep,    sweep,  si 
1 — S-g-i — *-fln — g-g- 

^eep, 

^  «@ 

'*»  ^ 

A.11    the   live  -  long 

.  i  a»  s     J  «i  *s  | , .  |  fm  m 

cw-\-  r- 1 »  r  i  >  ii 

-j  ^  m 
r*  1   1  . 

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-s^m-J — 0 — 

^weep,  s 

\        ..  m 

weep, 

sweep 

1  *  "  i 
Monday  morn 

i 


to 


Sat  -  ur  -  day     night,  Sweep, 


-4-  #L-#L 

rZ7= 


=5=*-|=±: 


— z^r-. — — 
sweep,  sweep, 
 0>  m_ 


sweep, 


:g=F 


y  OF  JLL  LIB. 


4 


SWEEPERS'  GROWL. 


While  singing  "Sweep,  Sweep/*'  girls  are  at  same  time  sweeping 
and  taking  following  steps : 

Sweeping  R.  and  sliding  R.  with  R.  foot,  then  bringing  L.  foot 
up  to  R.  foot. 

Sweeping  L.  and  sliding  L.  with  L.  foot,  then  bringing  R.  foot 
up  to  L.  foot,  and  so  on  during  song. 

7.  When  song  is  finished,  brooms  are  brought  in  front  of  body 
again,  and  girls,  resting  on  brooms,  look  coyly  at  audience.  Sud- 
denly they  turn  and  look  at  one  another  and  say,  "Let's  play;  Fm 
tired  of  work/' 

Girls  face  R.,  swing  brooms  to  shoulders,  with  broom  end  up, 
and  look  across  shoulders  at  audience. 

Music:    "Oh,  What  Fun,  Girls." 


OH!  WHAT  FUN,  GIRLS. 


To        the  clear      sky,        Light      as  heart's     gay,        On  this 


SWEEPERS'  GROWL. 


5 


6 


SWEEPERS'  GROWL. 


While  singing,  "Oh,  What  Fun,  Girls/'  girls  dance  in  waltz 
time  (first  1,  2,  3,  R.,  then  1,  2,  3,  L.,  and  so  on)  around  stage  in  a 
circle,  then  around  to  stage  back  C,  then  in  a  serpentine  to  stage 
front,  where  they  form  one  long  line  across  stage  and  face  audi- 
ence. Girls  bring  brooms  to  position  in  front  of  body  and  vertical. 
Again  they  rest  on  handles.  Music,  "Sweep,  Sweep/'  Girls 
sweep,  step,  and  sing  as  before. 

8.  With  end  of  song,  brooms  are  brought  in  front  positions 
again  and  girls  rest  on  them  as  before. 

GIRLS'  DIALOGUE. 

First  Girl.    But  what  care  I  if  it  is  sweep,  sweep,  sweep, 
sweep,  sweep  the  livelong  day,  we  do  have  fun  sometimes. 
Second  Girl.    Oh,  indeed,  do  we !    Pd  like  to  know  when. 
Third  Girl.    So  should  I,  for  I  find  it  a  burden  to  keep  house. 


SWEEPERS'  GROWL. 


Fourth  Girl.  For  if  s  nothing  but  sweep,  sweep,  sweep,  sweep, 
the  livelong  day.    [Swings  broom  as  she  speaks.] 

Fifth  Girl.  Yes,  'tis  sweep,  sweep,  dust,  dust,  floor,  ceilings 
and  walls. 

Sixth  Girl.    And  it's  ladders  to  climb,  and  cobwebs  to  brush. 
Seventh  Girl.    And  windows  to  clean  and  curtains  to  dust. 
Eighth  Girl.    It's  busy,  busy,  busy,  till  long  after  set  of  sun. 
All.    But  the  boys — dearie  me  [heave  big  sighs] — well,  they're 
busy,  too,  making  muss,  dirt,  and  dust. 

9.  Music,  "Sweep,  Sweep."  Girls  sweep  and  step  and  sing  as 
before,  but  this  time  as  they  step  they  keep  moving  backward  until 
stage  back  C.  is  reached,  when  they  dart  out. 

BOYS'  DIALOGUE. 

First  Boy.    Well,  I'd  rather  have  fun  all  the  time  than  work. 
Second  Boy.    But  the  workers  often  get  to  be  great  men. 
Third  Boy.    Yd  like  to  know  how? 

Fourth  Boy.  By  holding  their  tongues,  doing  their  work  well, 
and  saving  their  spare  cash. 

Fifth  Boy.  Listen  to  his  beautiful  dream — spare  cash!  It 
takes  all  I  earn  and  all  my  tips  to  pay  for  cigars. 

Sixth  Boy.  You  have  had  more  money  this  year  than  I,  and 
yet  I  have  saved  fifty  dollars. 

Seventh  Boy.  Oh!  let's  look  at  him— a  real  mother's  boy, 
is  it? 

Eighth  Boy.  Work  won't  hurt  any  one,  and  working  well  is 
the  best  thing  one  can  do,  for  it  makes  one  strong  and  honest. 
Now,  let's  do  our  best. 

Music,  "Sweep,  Sweep."  Boys  sweep  and  step  and  sing  as 
before  until  they  exit. 


Thanksgiving  Celebrations 

(Known  also  as  "Werner's  Readings  and  Recitations  No.  40.") 

FINE  COLLECTION  OF  RECITATIONS,  SONGS,  ENTERTAIN- 
MENTS, ACTION  POEMS,  ACTION  SONGS,  ETC. 

By  STANLEY  SCHELL. 


Around  Thanksgiving  Time. 
Birth  of  Our  Thanksgiving  Day. 
Blue  Beard,  Story  of. 
Child's  Thanksgiving. 
Country  Thanksgiving. 
Elder  Sniffles's  Thanksgiving  Dinner. 
Farmer  John's  Thanksgiving. 
Feast  Time  of  the  Year. 
First  Thanksgiving  (2  pieces). 
First  Thanksgiving  Day. 
Five  Kernels  of  Cora. 
Freedom's  Thanksgiving  Day. 
Give  Thanks. 
Gossip  of  the  Nuts. 
His  Riches. 

His  Thanksgiving  Dream. 
Home  for  Thanksgiving. 
Ichabod  Crane  at  Heer  van  Tassel's  Dinner 
Party. 

I'll  be  at  Home  Thanksgiving. 
In  Football  Times. 
Ingin  Summer. 
John  White's  Thanksgiving. 
Joseph's  Story. 
Kitty's  Thanksgiving. 
Little  Pilgrim. 
Little  Turkey  Gobbler. 
"Makin'  Things  A-Purpose  to  be  Et." 
Making  Jack-o'-Lanterns. 
Miner's  Thanksgiving. 
My  Thanksgiving. 
"My  Tumick's  Got  a  Pain." 
Neddie's  Thanksgiving  Visit. 
Night  Before  Thanksgiving. 
Pessimistic  Gratitude. 


IRecttattons  in  tbe  3Booft 


Pumpkin  Pie. 
Reasons  for  Thanks. 
Scripture  Readings. 
Signs  of  the  Times. 
Story  of  the  Pilgrims  (2  pieces). 
Tanksgibbin  Turkey. 
Thank  the  Creator,  not  the  Created. 
Thankful  for  What? 
Thankful  Frog  and  Unthankful  Cat. 
Thanksgi  vin' . 
Thanksgiving  (4  pieces). 
Thanksgiving  Chicken. 
Thanksgiving  Day. 
Thanksgiving  Dinner. 
Thanksgiving  Gourmand. 
Thanksgiving  in  Old  Virginia. 
Thanksgiving  in  the  Gold  Diggings. 
Thanksgiving  Legend. 
Thanksgiving  Lesson. 
Thanksgiving  Magician. 
Thanksgiving  on  Herring  Hill. 
Thanksgiving  Philosophy. 
Thanksgiving  Ride  of  the  Pumpkins. 
Thanksgiving  Sermon. 
Thanksgiving  Song  for  Little  Folks. 
Thanksgiving  Story. 
Thanksgiving  Wooing. 
Tit  for  Tat. 

Tommybob's  Thanksgiving  Vision. 
Tommy's  Dinner. 
Tommy's  Thanksgiving. 
Turkey  of  Life. 

What  Makes  Thanksgiving  Day. 
Where  the  Mince  Pie  Grows. 
Why? 

Witch's  Daughter. 


President's  Thanksgiving  Proclamation. 
Pumpkin. 

Entertainments  in  tbe  JBooft 

T^n  Wiw8  °tiA22  (historifal  exercise  6  children)— Brownie  Drill  and  Song  (6  children)— Dumb- 
Bell  Drill  (6  children)— Feast  Time  of  the  Year  (exercise,  5  children)— For  the  Jolly  Jack-o'-Lan- 
terns (action  song  for  3  boys,  3  girls)— Joseph's  Story  (entertainment,  2  boys,  2  girls,  and  4  small 
children)— Mayflower  (acrostic,  9  children)- -Pantomime  of  Witch's  Daughter  (lm  If  with  reader 
of  text  and  several  supes)— Pumpkin-Pie  (acrostic,  10  children)— Pumpkin-Pie  Makers  (entertain- 
ment, any  number)— Spellers  (acrostic,  10  children)— Story  of  a  Seed  (entertainment,  5  children) 
—Thanksgiving  (acrostic,  12  children)— Thanksgiving  Day  (acrostic,  12  children  or  1  child)— Thanks- 
giving Lesson  (play,  4  girls)— Three  Little  Cooks  (entertainment,  3  girls)— Thanksgiving  Enter- 
tainment (pictures,  past  and  present  of  Thanksgiving  Day)— Thanksgiving  Entertainment  ^pictures 
in  song,  recitations,  essay,  proclamation,  exercises,  etc.,  history  of  Thanksgiving,  from  beginning 
to  the  present)— Thanksgiving  Entertainment  for  Primary  Grades  (consists  of  acrostics  songs  reci- 
tations, exercises,  motion  song,  concert  recitation,  quotations)— Thanksgiving  Program  (consists 
of  chorus,  dialogue,  dril  ,  pantomime,  recitations)— Thanksgiving,  Then  and  Now  (play,  2m  20— 
Thanksgiving  Toasts— What  Each  is  Thankful  For  (exercise,  2  boys,  5  girls). 

Songs  in  tbe  Boofe 

Songs  with  Both  Words  andJMusic:  God  Bless  Our  Native  Land— Heigh  Ho!  for  Thanksgiving 
—Landing  of  the  Pilgrims— Pie  Song— Thanksgiving— Thanksgiving  Day  is  Here  Once  More— 
Thanksgiving  ">r  Harvest— Thanksgiving  Hymn— Thanksgiving  Song— Thanksgiving  Turkey- 
Three  Maids  of  a  Housekeeping  Turn.  Songs  with  Words  Only,  Tunes  Suggested:  For  the  Jolly  Jack 
©'-Lanterns— Once  More  We  Hail  Thee— Spellers— What  Makes  Thanksgiving  Day. 

Price,  35c.  in  paper,  6oc.  in  cloth  binding,  postpaid 


EDGAR  S.  WERNER  &  COMPANY,  NEW  YORK. 


Hallowe'en  Festivities 


(Book  is  known  also  as  ''Werner's  Readings  and  Recitations  No.  31.'*) 

N.B. — While  this  book  is  specially  suitable  for  Hallowe'en,  it  contains  muck 
material  good  for  any  time  of  the  year  and  fc  r  any  occasion. 


CONTENTS: 

IRecttattons 


At  Candle  Lightin'  Time— P.  L.  Dunbar. 

Courtin'. — J.  R.  Lowell. 

Colored  Dancing  Match. — F.  L.  Stanton. 

Don  Squixet's  whost.— Harry  Bolingbroke. 

Elf-Child.— J.  W.  Riley. 

Enchanted  Shirt. — John  Hay. 

Famous  Ghosts. 

Ghost  Stories. — Flavia  Rosser. 

Ghoses. — J.  D.  Carrothers. 

Ghost  of  a  Flower. 

Hallowe'en  (essay). — Stanley  Schell. 
Hallowe'en. 

Hallowe'en. — Carrie  Stern. 
Hallowe'en. — L.  F.  W.  Gillette. 
Hallowe'en. — M.  Cawein. 
Hallowe'en  Cheer. 
His  Father's  Ghost. 
Jimmy  Butler  and  the  Owl. 
Miss  Russel's  Ghost. 


Most  Remarkable  Vision. 

My  Ghost  Story. 

Omens.— Frank  L.  Stanton. 

One  Thing  Needful. 

Popping  Corn. 

Queen  Mab. — Shakespeare. 

Robin  Goodfellow. — Ben  Jonson. 

Saved  by  a  Ghost. 

Seein' Things.— Eugene  Field. 

Speakin'  Ghost.— S.  S.  Rice. 

Sweet  William's  Ghost. 

That  Awful  Ghost. 

That  Ghost. — Anna  E.  Dickinson. 

Uncle  Dan'l's  Apparition.— Mark  Twain 

and  CD.  Warner. 
When  de  Folk  is  Gone.— J.  W.  Riley, 
Witch's  Cavern. — Bulwer  Lytton. 
Wood  Hants. — Anna  V.  Culbertson, 


Entertainments 

Clever  Matchmakers  (play).— Dance  Program  for  Ghost  Dance.— Directions  for  Serving 
Supper.— Fagot  Ghost  stories.— Fortune  Slips,  Samples  of.— Fortune  Telling.— Fortune 
Telling  with  Dominoes.— Ghost  Dance.— Ghost  Stories.— Ghost  Story  Party— Ghostly 
Pantomimes.— Goblin  Parade.— Hallowe'en  I  ntertainment.—  Hallowe  en  Festivities' 
Decorations.— Hallowe'en  German  .—Hallowe'en  Invitation  Forms.— Hallowe'en  Pro- 
gram.—Hallowe'en  Supper  .—Home  Tests  for  Hallowe'en.— Lucky  Charms.— Macbeth' s 
Fortune  (play  )— March  to  Supper  .—Menu  (suggesiive)  .—Order  of  Serving  Refreshments  .— 
Partners  for  Supper,  Method  of  Securing.— Reception  and  Introduction  of  Guests.— 
Receipes  for  Hallowe'en.— Refreshments.— Samples  of  Conundrums  for  Hallowe'en.— 
Shadow  Pantomimes  (suggestive).— Spook  March.— Supper.— Witch  Costume.— Witches 
Dance.— Your  Lucky  Birthday  Jewel. 

IRecipes 

Apples  for  Hallowe'en.— Chestnuts.— Chicken  Salad  Rolls.— Cider  Flip.— Conundrum 
Nuts.— Fortune  Balls,— Fortune  Cake.— Fried  Cakes.— Grape  Pudding.— Hallowe'en 
Pie.— Melon  Cream.— Orange  Straws.— Pop  Corn  Balls.— Salted  Nut— Meats.— Syrup 
for  Pop-Corn  Balls. 

Games 

After-Supper  Sports,  Games,  Mysteries.— Alphabet  Game.— Apple  Paring.— Apple 
Pip  Test.— Apple  Seeds.— Apple  Seeds.— Apples  and  Flour.— Around  the  Walnut  Tree.— 
Baby  Show.— Barrel  Hoop.— Blind  Nut  Seekers.— Bowls  (Luggies).— Candle  ai  d  Apple.— 
Cellar  Stairs.— College  Colors.— Combing  Hair  before  Mirror.— Cupid's  Time.—  Cyniver.— 
Dough  Test.— Dreamer.— Dry  Bread.— Ducking  for  Apples.— Fagot  Ghost  Stories.— 
leather  Tests.— Four  Saucers.— Game  of  Fate.— Games  and  Mysteries  for  Early 
Evening.— Guess  Who.— Hallowe'en  Souvenir  Game.— Hiding  Ring,  '1  nimble  and 
Penny.— Jumping  Lighted  Candle.— Launching  Boats.— Lover's  Test.— Magic  Starrs.— 
Melting  Lead.— Mirror  .—Mirror  and  Appl^.—  Naming  Bedposts.— Necklace.— Needle 
Game.— New  Friends.— Peanut  or  Bean  Hunt.— Perplexing  Hunt.— Pulling  Kale.— 
Pumpkin  Alphabet.— Raisin  Race.— Ring  and  Goblet.— Secret  Test.— Snapdragon. — 
Supper  Games.— Threading  a  Needle.— To  Test  Friends.— Touchstone.— Two  Roses.— 
Walnut  Boats.— Water  Experiment.— Where  Dwells  My  Lover.— Winding  Yarn.— 
Winnowing  Corn.— Wood  a..  J  Water.— Yo  r  Lucky  Sticks. 


Price,  35c.  in  paper,  60c.  in  cloth  binding. 


Address  the  Publishers  : 

EDGAR  S.  WERNER  &  CO.,  43  E.  19th  St..  New  York. 


PRICE,  3.25 


KIT'S  CALLER 

ROMANTIC,  HUMOROUS  MONOLOGUE  FOR  A  WOMAN 


By  PAULINE  PHELPS,  joint  author  with  MARION  SHORT 
of  "A  Grand  Army  Man,"  leading  part  played  by 
David  Warfield,  under  management 
of  David  Belasco 

/'KIT'S  CALLER"  presents  a  drawing-room  scene.  12 
minutes.  Shop-girl  calls  on  maid  of  wealthy  young  lady  who  has  quar- 
reled with  lover  and  gone  away,  having  discarded  dress  which  lover 
Ck  •  1  •  to  sn°P-^rl  dress,  which  shop-girl  struts  around  with, 
i NL?  l  mista'ces  'over'  wno  calls*  ror  tradesman,  and  blabs  out  young 
lady  s  heart-sorrow  over  quarrel  with  lover  who,  after  showering  money 
on  the  two  girls,  rushes  off  for  reconciliation. 

MISS  PHELPS  is  also  author  of  the  following  selections, 
all  of  which  have  been  tested  on  the  public  platform,  are  in  the 
repertoires  of  America's  most  successful  reciters,  and  win 
prizes  everywhere : 

As  the  Moon  Rose  Kit's  Caller 

Aunt  Elnora's  Hero  Midnight  Courtship 

Aunt  Sarah  on  Bicycles         Millinery  Melee 

Average  Boy  Minister's  Black  Nance 

Betsy  Holden's  Burglars         Old  Benedict  Arnold 

Biff  Perkins's  Toboggan  Slide  Old  Fifer 

Billy's  Animal  Show  Reverend  Mr.  Tuffscrappen 

Cook,  The  Rosalind's  Surrender 

Daisy's  Music  Practice  Hour  Scorching  vs.  Diamonds 

Deacon  Slocum's  Presence  of  Seven  Ages  of  Man 

Mind  Shakespearean  Conference 

Dumb- Waiter  Difficulty         Spinier  Thurber's  Carpet 
Family  Plate  Story  of  Hard  Times 

Firetown's  New  Schoolhouse  Sweet-Girl  Graduate 
Her  Cuban  Tea  Telephone  Romance 

How  Mr.  Simonson  Took      Thanksgiving  Day  at  Grand- 
Care  of  the  Baby  ma's 
Jolly  Brick  Trial  Performance 

Just  Commonplace  What  a  Masquerade  Did 

PRICE,  $.25  EACH,  POSTPAID 

t'etid  Direct  to  the  Publishers 

Edgar  S.  Werner  &  Co.  ,43  E.I  9  th  St. ,  N.  Y. 


SIS 

Sch2m 


Scheli,  Stanley, 

Modern  Queen  Esther, 

Contents 
Modern  Queen  Esther 9 
Ravings  of  a  mad  actor. 
Sweepers1  growl. 


7L 

4  • 


MODERN 
QUEEN 
ESTHER 


TANLEY 
CHELL 


KETCH 


EDGftRS.WERNER 
^COMPANY 

NEW  YORK  CITY 


PRICE  ES  CENTS 


COPYRIGHT  1914   BY  EDGAR  S.WERN 


MODERN  QUEEN  ESTHER. 

["MUWER's  DAVID."] 

Pathetic  Child-Dialect  Monologue  for  Small  Girl. 


Stanley  Schell. 


[Copyright,  1914,  by  Edgar  S.  Werner.] 


Characters  :  Alice  Dunbar,  seven  years  old,  speaker 
present ;  David  Martin,  President  of  Battery  Sav- 
ings Bank,  supposed  to  be  present. 

Costume  :  Dainty  white  gown,  low  shoes,  white  stock- 
ings, long  curly  yellow  hair,  white  hat  trimmed  with 
blue  ribbon  and  long  streamers  hanging  behind. 

Scene  :  Bank  office^  showing  president's  room.  Desk  L. 
Near  desk,  with  side  toward  desk,  large  and  comfort- 
able wheel-chair  in  which  Mr.  Martin  is  supposed  to 
be  seated.  Near  end  of  desk  good-sized  trash-basket 
nearly  full  of  paper.  Door  R.  C.  opens  slowly  and 
Alice  Dunbar  enters,  stands  smilingly  within  door. 
Soon  she  looks  pleadingly  at  Mr.  Martin. 

PLEASE,  may  I  come  in?    [Face   lightens   with  a 
smile.]     Aren't  I    already  in?      [Laughs   as  if 
pleased.] 

Oh,  yes — little  bit.  [Dances  lightly  across  stage  to 
Martin's  chair.]  But  your  guard — your  mess'gers  said 
you  mustn't  be  'sturbed ;  but  I  'splained  dat  Pm  Queen 
Esther,  an'  had  to  see  you  on  most  'portant  business,  so 
I  got  by  dem  

(157) 


II.  OF  ILL  LIB. 


(to 


STANLEY  SC HELL'S  SKETCHES. 


Not  truly,  of  course.  My  really,  truly  name  is  Alice — 
Alice  Dunbar — you  seem  'sprised?  Pm  p'tending  Pm 
Queen  Esther,  an'  [bows  low  and  deep]  you  is  Ahas'rus, 
the  king!  Pm  come  to  save  my  people  [looks  serious  and 
nods  slowly],  not  sure  'nough  nation,  you  know,  but  just 
make-believe.  [Looks  pleadingly  at  Martin;  rests  hands 
on  arm  of  chair  as  if  tired;  shifts  from  one  foot  to  the 
other;  pouts;  looks  wistful.] 

You  haven't  asked  me  to  sit  down  yet !  My  muvver 
says  it's  perlite  to  ask  vis'tors  to  be  seated,  an'  specially 
when  she  is  of  royal  blood. 

[Appears  to  be  lifted  to  seat  on  desk;  swings  feet; 
crosses  them;  looks  seriously  at  Martin.] 

Now,  King  Ahas'rus  [swings  feet  again;  twirls  hat  by 
ribbons  after  removing  it  from  head],  we  can  talk  more 
comfo'bly,  but, — is  you  a  Medumpersian  ? 

You  fink  not?    Oh,  Pm  glad.  [Heaves  sigh  of  content.] 

Why?  'Cause  as  you  isn't,  you  can  change  your  mind 
'bout  'smissing  my  favver. 

Favver?  No,  he  didn't  never.  He  wouldn't  never  have 
let  me  come;  nor  muvver,  neaver,  mos'  of  all. 

[Leans  forward  as  if  telling  a  secret;  zvhispers.] 

I  runned  away!  But  [beseechingly],  please,  promise — 
you  won't  never  tell  nobody? 

[Face  full  of  pleading,  whole    body  expressing 
eagerness.] 


I 


STANLEY  SC HELL'S  SKETCHES. 


You'll — you'll  promise?  [In  worried  tones;  suddenly 
face  lightens  with  joy.]  Cross  your  heart — so — that's  the 
way.  Now,  you  can't  never  tell,  for,  if  you  do,  the  black 
bird'll  get  you — yes,  he  will,  and — he'll  eat  you  all  up. 
[Shakes  finger  at  him  impressively.] 

Why  I  corned  to  you?  'Cause  I  heard  favver  say  to 
muvver  he'd  rawer  starve  dan  ask  a  favor  of  you. 
Favver's  brave — he  is ;  but,  muvver  [lips  quiver;  eyes  fill 
with  tears]  ;  I  couldn't  never  let  muvver  starve;  so  I 
finked  an'  finked  an'  finked,  if  you  wasn't  really  drefful 
cross,  I'd  ask  you  myself  [peers  closely  into  his  eyes], 
an'  you  ain't  cross  one  tiny  little  bit.  [Clasps  hands  as 
if  overjoyed  at  discovery.]  Oh,  I'm  so  glad  I  runned 
away.  I  fink  you're  very  nice  too.  Fanks?  You  needn't 
fank  me,  you  is  nice,  vough  you  don't  smile  much  ;  per- 
haps you've  twoubles  of  yours  too.  You  might  tell  me 
'bout  'em,  if  you  have.  I  symp'thize  wiv  my  own  beau'- 
ful  muvver,  sometimes,  you  know. 

Beau'ful?  [Looks  at  him  in  surprise.]  Beau'ful?  She's 
so  lovely,  you  can't  never  fink  naughty  fings  when  she's 
lookin'  at  you,  but  [sorrozv fully]  now  she  has  nervous 
persuasion — vat's  it,  I  guess,  ever  since  my  favver  lost 
his  money.  Doctor  says  she  mus'n't  never  be  bovvered, 
and  [shaking  finger  at  him  in  threatening  fashion]  you — 
you — have  gone  an'  bovvered  her ! 

Sorry?  Really — an'  truly — cross  you're  heart — you  is 
— yes,  you  is?  I'm  glad — I  truly  is.  You  see  [confi- 
dentially], favver  tells  muvver  nothin'  'cept  'bout  his  lost 


160 


ST  AX  LEY  SCH  ELL'S  SKETCHES. 


money  air  wishes  to  gwacious  goodness  he  could  live  his 
life  over  'gain,  an*  nen  [sobs  hard  a  moment],  nen  he 
dwinks3  an'  dwinks*.  an'  nen  says  to  muvver  vat's  the  only 
way  to  forget  'bout  it. 

Cowardly  brute?  What's  vat?  Go  on?  [Hesitating- 
ly.] But  you  didn't  say  nuffin  naughty,  did  you?  [Wor- 
ried and  apprehensive  look.]  Xo?  Well,  so,  'course, 
vere's  nobody  to  fink  'bout  muvver  but  me.  an'  yest'day — 
[flushing  and  hesitating],  favver  said  the  rent  was  only 
paid  'till  to-morrow — an*,  an'  we  hadn't  no  money  at  'tall, 
an'  vere's  no  use  for  him  to  try.  'cause  ev'ybody's  "gainst 
him.  Xen  muvver  cried,  an'  you  know  she  mustn't  never 
do  vat.  'cause  it  makes  her  worse ;  an*  if  she  gets  worse 
all  the  time,  she'll  die.  air*  I  reckon  if  muvver  died  nobody 
"ud  want  to  live,  would  vey? 

[Eyes  fill  with  tears ;  sobs  hard  a  while;  stops  cry- 
ing suddenly  and  looks  up  worried  and  seared.] 

My  'tition?  Yat  'tis  [clasps  hands  pleadingly]  :  Please, 
King  Ahas'rus,  please  you  just  put  favver  back  again! 
Won't  you,  please?  I  jes'  vant  you  to  let  him  stay  'till 
I'm  big  'nough  to  take  care  of  muvver.  It  won't  be  so 
dreffiil  long. 

I  won't — when  I'm  big  'nough — HI  marwy  rich  man? 
Xo.  no,  no!  Yat's  orful  fing !  Why.  my  muvver  said, 
once  on  a  time,  a  little  girl  she  knowed.  an'  who  had 
yellow  curls  just  like  mine,  an'  used  to  be  so  verwy,  verwy 
happy,  an'  she  knew  a  nice  little  boy  who  is  now  a  big 


STANLEY  SC  HELL'S  SKETCHES. 


161 


man  like  muvver — no  favver  [trying  to  think].  Oh. 
dearie  me,  I  forgot  his  name.  [Puts  finger  on  brow  in 
funny  fashion  and  sits  in  deep  thought.'] 

David?  Oh,  yes — David.  How  did  you  know?  An' 
he  used  to  carry  the  little  girl's  books  to  school.  One 
day,  when  the  bridge  was — when — carwied  her  over  the 
stream?  Yes,  vat's  it  [looking  at  him  with  approving 
eyes].    You're  orful  bright  to  know  vat  

An'  vey  used  to  go  a-nutting  an'  sliding  together,  an' 
he  alwuz  brought  her  all  the  firstest  flowers,  an'  vey 
were  so  happy  an'  loved  each  uvver,  an'  vey  said  vey 
would  get  married  when  vey  growed  up.  But,  one  day. 
vere  was  a  great  rich — oh,  so  verwy,  verwy  rich  man 
corned  to  her  muvver  an'  wanted  to  marwy  her,  an'  her 
muvver  made  her  marwy  him — an'  vat  was  orful,  'cause 
she  didn't  love  vat  rich  man  but  only  just  loved  David 
an'  kep'  on  lovin'  David  vough  she  twied  orful  hard  not 
to,  'cause  she  had  to  marry  the  uvver  man.  I  reckon 
she's  been  in  the  habit  of  it  so — so  long,  she  just  couldn't 
stop.  An'  nen  the  rich  man  lost  all  his  money,  an'  now 
she  is  punished  bad.  An*  I'll  never,  never  act  like  vat 
to  a  boy  I  love  'cause  it's  the  wickedest  fing  in  the  world, 
muvver  says. 

[Mr.  Martin  is  supposed  by  this  time  to  be  sit- 
ting with  head  bowed  on  desk.  Alice  looks  at  him 
while  she  talks;  after  a  while  smoothes  his  head 
gently  and  lovingly.] 

I'm  'fraid  you're  drefful  tired  of  me.    [Slips  from  desk 


1} 


162 


STANLEY  SC HELL'S  SKETCHES. 


and  moves  toward  door.]  I  mus'  be  goirP.  My  muvver'll 
miss  me.  [Stops  and  looks  back.]  Mus'n't  go  yet?  Come 
back?  You'll  grant  [makes  rush  for  chair  and  fairly 
dances  up  and  down] — you'll  grant  my  'tition  for  sake  of 
my  muvver? — you — love — my  muvver? —  You — you — is 
little  David  she  toP  'bout?  [Clasps  hands  ecstatically.] 
You  love  my  muvver,  an'  you  is  her  David?  Why,  nen, 
muvver  was  mistaken  nen,  she  said  you  hated  her,  an' 
you  don't?  You're  so  kind,  I  reckon  you  couldn't  hate 
nobody — could  you,  now  ? 

Not  my  muvver?  Nobody  couldn't  do  vat.  'Member, 
you  mus'n't  never  tell  I  corned,  'cause  you  crossed  your 
heart,  an'  vat's  more  van  bein'  a  Medumpersian.  I'm 
glad  I  corned,  now,  an'  muvver'll  love  you  more  van  ever, 
'cause  you  let  my  favver  stay,  an'  I'll  bring  her  to  see 
you  soon  as  she  is  better  of  nervous  'suasion.  Good-bye ! 
[Stretches  up  and  offers  lips  to  be  kissed;  sound  of  kiss- 
ing.] Good-bye,  muvver's  David.  [Trips  across  stage; 
waves  hand  and  exits  blowing  kisses  from  finger-tips,  say- 
ing in  loving  tones.]    Muvver's  David. 


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Apartment  Hunting 

At  the  Notion  Counter 

At  the  Restaurant 

Bargain  Day 

Bargain  Hunters 

Baseball  Game 

Bicycle  vs.  Wolves 

Black  vs.  White 

Blue  and  White  Polka-dot  Shirt 

Book  Canvasser 

Brave  Man  and  a  Toothache 

Buying  a  Hat 

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Store 
Cheat 

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De  Wolf  Hopper  on  Baseball 

Experience  in  Arcadia 

Gossiping  Bridget 

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How  T  Was  Courted 

How  Nell  Gets  Even 

How  She  Helps  Save 

I'm  Engaged 

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Invitation  to  the  City 
It  Was  a  Miracle 
Just  a  Bowery  Newsboy 


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Man  She  Loved 

Mary  Ann  Gilhuly 

Modern  Queen  Esther 

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Pop!  Pop!  Why  Don't  You  Pop? 

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'Sylums  vs.  Fresh  Air 
'Tis  the  Finish  of  the  Play 
Told  Over  the  Telephone 
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Address  the  Publishers 

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SIS 

5cK2m 


BV  EDGAR  S.  WERNER 


RAVINGS  OF  A  MAD  ACTOR. 

["in  a  madhouse/'] 


Tragic  Dramatic  Monologue  for  Man. 


Stanley  Schell. 


[Copyright,  1914,  by  Edgar  S.  Werner.] 


Scene:    Cell  interior.    Actor  striding  majestically  up 
and  down. 

A  yf  AD! — I — mad?   Who  dares  say  Pm  mad? 

1YX   [Suddenly  faces  audience;  glares  a  moment;  face 
softens.  ] 

Does  this  sound  mad? 

[Recites  in  fine  style  from  "Shamus  O'Brien/'] 

"Jist  after  the  war,  in  the  year  '98, 
As  soon  as  the  boys  wor  all  scattered  and  bate, 
'Twas  the  custom,  whenever  a  pisant  was  got. 
To  hang  him  by  thrial — barrin'  sich  as  was  shot. 
There  was  thrial  by  jury  goin'  on  by  daylight, 
And  the  martial-law  hangin'  the  lavins  by  night. 
It's  thim  was  hard  times  for  an  honest  gossoon ; " 

[Stops  to  recall  words,  then  proceeds.] 

"An'  the  bravest  an'  hardiest  boy  iv  thim  all 
Was  Shamus  O'Brien." 

(149) 


(J  OF  ILL  LIB- 


150  STANLEY  SCHELVS  SKETCHES. 

[Stops  suddenly;  looks  keenly  at  audience;  laughs 
mockingly.] 

Ha-ha  !    Ha-ha-ha  !    Dear  Shamus  O'Brien. 

[Laughs  hideously.] 

He— ha  !  Ho-ho-ha ! 

[Glares  again.] 

So  Pm  mad — raving  mad  ! 
He-he-he —  !     [Laughs.  ] 

Mad  !    My  plays  made  me  mad — my  plays  


[Chucklingly.~] 
Ah-ha  ! — ah-ha  ! 

When  I  appear  on  the  stage  thus — [strides  about], — all 
say:  "Look!— see!  See !— he's  mad."  Mad?  Mad? 
Who's  mad? 

I  ?    I,  the  leading  actor,  mad  ? 

[Laughs  hideously ;  stops  suddenly;  glares.] 
I'm  not  mad  ! — no  !    No  ! ! ! — 

[Fairly  yells  out  the  words;  stamps;  chuckles; 
then,  with  what  seems  to  be  return  of  reason,  stops  a 
moment  and  peers  at  audience  but  relapses  again  into 
vagueness.] 

Just  hear  me,  Virginius.  I  am  leading  my  daughter 
before  Appius  Claudius,  and  now  T  am  addressing  him : 
"Appius  Claudius,  you  have  sent  for  me  and  I  have  come 


STANLEY  SCHELL'S  SKETCHES. 

— come  to  defend  my  daughter,  a  free-born  maid,  dragged 
through  the  streets  of  Rome  as  your  slave.  Go  on  !  Go 
on.  Go  on  with  your  trial,  Appius  Claudius !  I  am  ready 
to  defend  my  daughter  with  my  heart's  blood !" 

[Laughs.] 

Ha-ha  !    Ho  !— ha-he ! 

\ Takes  another  tack;  places  finger  over  lips  and 
says  tragically.] 

Sh,  sh  !  Blood  !  Blood  !  Blood  ! ! !  Who  says  blood  ? 
Ah^  ha — ah-ha! 

[Acts  as  if  he  had  just  discovered  culprit.  Looks 
ugly;  suddenly  starts  back  as  though  frightened.] 

"Is  this  a  dagger,  which  I  see  before  me, 

The  handle  toward  my  hand? 

Come,  let  me  clutch  thee : — 

I  have  thee  not,  and  yet  I  see  thee  still. 

Art  thou  not,  fatal  vision,  sensible 

To  feeling  as  to  sight  ?  or  art  thou  but 

A  dagger  of  the  mind,  a  false  creation, 

Proceeding  from  the  heat-oppressed  brain? 

I  see  thee  yet,  in  form  as  palpable 

As  this  which  now  I  draw/' 

[Stands  glaring;  tries  to  remember.] 

"I  see  thee  still ; 
And  on  thy  blade  and  dudgeon  are  gouts  of  blood, 
Which  was  not  so  before." 


152  STANLEY  SCHELL'S  SKETCHES. 

[Stands,  full  of  horror.] 

Oh !  the  horror  of  it  all. 

[Shudders;  glares.] 

"I  have  done  the  deed  " 

[Shudders;  gazes  on  hands.] 

"This  is  a  sorry  sight." 

[Shakes  hands  suddenly  as  if  to  shake  away  hide- 
ous sight;  laughs.] 

Ha-ha !    Ha-ha ! 

"Sorry  sight  " 

[Murmurs;  shouts  suddenly.] 

"Will  all  great  Neptune's  ocean  wash  this  blood 
Clean  from  my  hand?" 

[Seems  to  realize  where  he  is.] 

Ah!  no  wonder  Fm  called  mad  when  thus  I  speak- 
away  !  away  !  unholy  thoughts — away  !  I  say.   Mad  !  mad  ! 

[Most  pathetically  and  despairingly.   Suddenly  re- 
lapses, then  seems  bright  and  triumphant.] 

"Is  not  the  lady  I  have  chosen  fair0 
Of  a  right  age? 

A  well-proportioned  form,  and  noble  presence? — 
Has  she  not  wit  ?   Gentle  ?    Gentle  ?" 


STANLEY  SCHELL'S  SKETCHES. 


153 


[Laughs.  ]     Ha-ha-ha ! 

'There  you  touch  me !    Yet  though  she  be  prouder 

Than  the  vex'd  ocean  at  its  topmost  height, 

And  every  breeze  will  chafe  her  to  a  storm, 

I  love  her  still  the  better.    Some  prefer 

Smoothly  o'er  an  unwrinkled  sea  to  glide; 

Others  to  ride  the  cloud-aspiring  waves, 

And  hear,  amid  the  rending  tackles'  roar, 

The  spirit  of  an  equinoctial  gale. 

What  though  a  patient  and  enduring  lover-  " 

[Stops;  after  a  moment  of  puzzled  thought  con- 
tinues^] 

"Yet  when  I  am  her  husband,  she  shall  feel 
I  was  not  born  to  be  a  woman's  slave ! 
When  with  a  bold  hand,  I  have  weeded  out 
The  rank  growth  of  her  pride,  she'll  be  a  garden 
Lovely  in  blossom,  rich  in  fruit ;  till  then, 
An  unpruned  wilderness  " 

[Laughs  gleefully  and  suggestively.] 

"Heigh  ho  !    Heigh  ho  ! 
Why,  what  a  burden  that  for  a  man's  song ! 
'Twould  fit  a  maiden  that  was  sick  of  love. 
Heigh  ho  !    Come,  ride  with  me  to  Lincolnshire, 
And  turn  thy  'Heigh  ho  V  into  'Hilly  ho !'  " 

[Laughs  heartily  and  gleefully.] 

Ha-ha-ha-ho-ho  !    That's  a  joke — a  joke. 


154  STANLEY  SCHELL'S  SKETCHES. 

[Stands  still  with  heavy  frown.] 

"Oh,  blood,  Iago,  blood  !" 

[Shudders;  face  assumes  hideous  glare.] 

"Yet  Fll  not  shed  her  blood ; 

Nor  sear  that  whiter  skin  of  hers  than  snow. 

And  smooth  as  monumental  alabaster. 

Yet  she  must  die  !  else  she'll  betray  more  men/" 

[Acts  as  if  smothering  with  pillows;  halts  a  mo- 
tnent  as  if  listening:  turns  suddenly  and  acts  as 
though  stabbing;  stands  listening  again.] 

"Yes,  Emila,  she's  dead/' 

[Most  pathetically  and  sorrowfully;  brightens  sud- 
denly.] 

"And,  now,  once  again,  am  I  the  Gladiator  in  the  arena. 
After  I  have  killed  my  man  I  say  I  will  kill  no  more.  As 
I  wipe  the  blood  from  off  my  dagger.  I  say.  'If  thou 
injure  a  hair  of  the  innocent's  head,  Fll  make  Rome 
howl ! ' " 

[Laughs.] 
Ha-ha-ha ! 

[Coughs  hard.] 
Me  ?_ Mad  !— Xo  !    No  !    N-o-o-o-O— ! 

[Laughs.] 
Ha-ha-ha-ha ! 


STANLEY  SC HELLS  SKETCHES. 


155 


"Remember  the  very  nobles  approve  the  master/' 
[Laughs.] 
Ha-ha-ha ! 

[Coughs  hard  again.'] 

"On,  Romans,  on !    With  hands  and  sword  be 

smeared 
In  Caesar's  blood, 

Thus  walk  we  forth,  even  to  the  market-place. " 

[Walks  across  stage;  turns.] 
"Let's  all  cry :  Peace !   Freedom  and  Liberty !" 

[Laughs  hideously.] 

Ha-ha-ha-ha !  And  then  they  say  I'm  mad — mad — 
mad. 

[Glares  wildly.] 

Ah-ha  !    It  comes — it  comes  ! 

[Expresses  horror  and  part  fear.] 

"Angels  and  ministers  of  grace  defend  us ! 
Be  thou  a  spirit  of  health,  or  goblin  damned, 
Bring  with  thee  airs  from  heaven^  or  blasts  from 


Be  thy  intents  wicked  or  charitable. 

Thou  com'st  in  such  a  questionable  shape 

That  I  will  speak  to  thee.    PU  call  thee  Hamlet/' 


hell, 


A 


3  STANLEY  SCHELL'S  SKETCHES. 

[Stands  still,  glaring.] 

"What  may  this  mean, 
That  thou,  dead  corse,  again,  in  complete  steel, 
Revisit'st  thus  the  glimpses  of  the  moon, 
Making  night  hideous  ?" 

[Stands  as  if  listening.] 

"It  beckons  me  to  go  away  with  it, 
It  will  not  speak;  then  will  I  follow  it. 
It  waves  me  forth  again ;  I'll  follow  it/' 

[Laughs  hideously.] 

Ha-ha-ha! 

'Til  follow  it— I'll  follow— follow  it." 

[Drops  into  chair  as  if  exhausted;  mutters  a  while; 
puts  chin  in  hand;  rests  arm  on  arm  of  chair;  moves 
eyes  restlessly;  sinks  forward  into  chair  and  looks 
wildly,  yet  as  if  deadly  weary,  down  at  floor  off 
front.] 

[Exits.] 


ACTING  MONOLOGUES 

BY  LIVINGSTON  RUSSELL* 

ENGAGED.  Price,  25  cents. 

Romantic,  humorous  monologue  tor  a  woman.  A  young  woman,  who  has 
just  become  engaged,  calls  her  departing  lover  back  several  times,  and  then 
falls  into  a  gushing  and  hysterical  reverie.  She  ports  over  her  love-letters, 
plans  how  their  room  will  be  arranged,  and  runs  off  stage  singing  theLohen- 
grin  Wedding  March.   Full  business  given. 

CUPID'S  VICTIM  ;  or  the  TIMID  MAN.  Price,  25c. 

Humorous  monologue  for  a  man.  A  bashful  man  reads  up  on  courting  and 
practices  before  a  dummy  girl.  Very  full  business  given.  Three  illustrations. 

AN  IMPECUNIOUS  ACTOR.  Price,  25  cents. 

Humorous  monologue  for  a  man,  describing  the  tribulations  of  a  stage- 
struck  youth  who  goes  into  raptures  over  his  "  art,"  etc. 

THE  CLIMAX  OF  A  CRIME.  Price,  25  cents. 

Tragic  monologue  for  a  man.  Old  man  make-up.  A  murderer,  having  gone 
into  a  hole  to  bury  his  victim,  is  shut  in  and  can  not  escape.  He  goes  mad 
in  his  living  tomb;  his  various  victims  appear  before  him,  and  he  finally 
stabs  himself.  Complete  business  and  stage-directions. 

THE  DEATH  DREAM.  Price.  25  cents. 

Intensely  dramatic  monologue  for  a  man,  from  the  play  "  The  Bells,"  played 
by  Sir  Henry  Irving.  An  inn-keeper,  who  is  also  the  burgomaster,  murders 
a  guest  for  gold  and  burns  the  body  in  a  lime  kiln.  On  his  daughter's  wed- 
ding night  he  in  a  dream  goes  through  all  the  minutisB  of  the  murder, 
passes  through  terrible  suffering  and  dies.  Five  full-page  illustrations 
Full  business. 

THE  "COMING  OUT"  OF  MISS  CUMMINGS.  25c. 

A  breezy  and  humorous  monologue  for  a  woman.  An  up  to-date  '*  bud  "  of 
seventeen,  from  the  West,  makes  her  debut  in  New  York.  She  does  not  take 
kindly  to  society's  ways  and  to  the  addresses  of  the  stylish  men,  but  i  refers 
Montana  ways  and  k*  Jimmie,  of  Missoula  Gulch."  Affords  opportunity  to 
introduce  various  specialties.  Full  directions  for  stage,  and  full  business 
Three  full  page  illustrations. 

THE  GREEN-EYED  MONSTER.  Price,  25  cents. 

Humorous  monol  gue  for  a  woman.  An  actress,  in  making  her  debut 
misses  the  presence  of  her  lover,  and  has  a  fit  of  jealousy  and  of  the  blues! 
Ends  happily.  Affords  opportunity  for  varied  expressional  work. 

EOR  GOD  AND  COUNTRY.  Price,  25  cents 

Historical,  patriotic,  and  tragic  monologue  for  a  woman.  '  ^ed  Cross  nurse 
describes  the  scenes  on  the  battle-field  at  Santiago.  Hirers  to  Gen.  Wheeler 
and  to  Col.  Roosevelt.  Unusually  elaborate  directions  for  producing  various 
war-effects,  and  full  business.  (Every  reciter  should  have  this  monologue 
for  the  valuable  stage-iessons  it  gives,  even  the  ugh  he  does  not  c?re  for  the 
monologue  itself.)  Three  full  page  illustrations.  Costume  of  a  Ked  Cross 
nurse. 

VIVA  CUBA  LIBRE!  Price,  25  cents. 

A.  patriotic  monologue  for  a  woman.  A  dramatic  setting  of  incidents  con- 
nected with  the  patriotic  daring  of  Paulina  de  Ruiz  Gonzales— the  Joan  of 
Arc  of  Cuba;  together  with  the  introduction  of  historical  matter  regarding 
the  sufferings  of  the  Cubans  during  the  struggle  for  liberty. 

JUST  LIKE  ONE  OF  THE  FAMILY.  Price,  25  cents. 

William  Handy,  living  with  friends  but  considered  tk  just  like  one  of  the 
family, "  is  asked  to  look  after  the  house  during  the  absence  of  his  host  and 
hostess  on  a  call.  He  promises  himself  a  quiet  evening  of  intellectual  en- 
joyment, but  is  aroused  first  by  the  frantic  bawling  of  their  baby  by  tne 
entrance  of  the  coalman  and  by  the  cries  of  their  pet  cat,  dog  and'parrot 
When  upon  the  verge  of  nervous  collapse,  his  friends  return.  Intet  selv 
humorous.  J 

Any  of  the  above  sent  post-paid,  on  receipt  of  the  price,  by  the  publishers 
6DQAR  S.  WERNER   &  CO.  "3  Ea^ipth^Street. 


Stanley  ScheH's  Sketches 

j  Price,  25  cents  each  | 


Apartment  Hunting 

At  the  Notion  Counter 

At  the  Restaurant 

Bargain  Day 

Bargain  Hunters 

Baseball  Game 

Bicycle  vs.  Wolves 

Black  vs.  White 

Blue  and  White  Polka-dot  Shirt 

Book  Canvasser 

Brave  Man  and  a  Toothache 

Buying  a  Hat 

Buying  Rugs  in  a  Department 

Store 
Cheat 

Cozy  Corner 

Daisy's  Vacation 

De  Wolf  Hopper  on  Baseball 

Experience  in  Arcadia 

Gossiping  Bridget 

Hotel  Piazza  Ladies 

How  I  Was  Courted 

How  Nell  Gets  Even 

How  She  Helps  Save 

I'm  Engaged 

Ice  Queen 

Invitation  to  the  City 
It  Was  a  Miracle 
Just  a  Bowery  Newsboy 


Just  Returned 

Leading  Lady  Seeking  a  Job 

Man  She  Loved 

Mary  Ann  Gilhuly 

Modern  Queen  Esther 

Mop  Agent 

Mrs.  Thompson  Shops 

Pop!  Pop!  Why  Don't  You  Pop? 

Public  'Phone 

Ravings  of  an  Actor 

Revelations  in  Housekeeping 

Skippy's  Vacation 

Slim  Club 

Small  Boy  and  a  Suit  of  Clothes 
Society  Butterfly  and  a  Pudding 
Soldier's  Golden  Wedding 
Solving  the  Vacation  Problem 
'Sylums  vs.  Fresh  Air 
'Tis  the  Finish  of  the  Play 
Told  Over  the  Telephone 
Uncomplaining  Married  Man 
Up-to-date  Proposal 
Up-to-date  Saleslady 
Up-to-date  Society  Child 
Up-to-date  Stenographer 
Village  Seamstress 
Young  Mrs.   Bascom's   First  At 
Home" 


Catalogue  giving  full  description  of  above-listed 
STANLEY  SCHELL'S  SKETCHES,  sent  free  on  application. 

Vw  il»t  of  additional  writings  by  STANLEY  SCHEIE,  apply  to  the  PnblWh«. 

Address  the  Publishers 

EDGAR  S.  WERNER  &  COMPANY 
43  East  19th  Street,  New  York 


